Following the red carpet screening of Living (Sony Pictures Classics) on the final day (11/6) of the AFI Fest 2022 in Hollywood, three of the film’s lead collaborators, screenwriter Kazuo Ishiguro, actor Bill Nighy and director Oliver Hermanus came on stage for a discussion moderated by Tim Gray, Variety’s awards editor for features. During the session Ishiguro quipped that he doesn’t have much to talk about with Nighy and Hermanus, noting that the former doesn’t watch movies in which he acts, and Hermanus doesn’t read reviews of films he’s directed. So there’s not much left to say.
Still, the conversation before an audience at the landmark TCL Chinese Theater shed some light on Living, which reimagines Akira Kurosawa’s Ikiru (1952). Ishiguro noted that as a lad he became obsessed with Ikiru. And ultimately his admiration of the masterwork by Kurosawa translated into the bringing of a modernized version–set in the U.K.–to a new generation. But what put the idea over the top for Ishiguro was to have Nighy portray the protagonist.
Set in post-World War II London, Living grapples with the meaning of life and the potential of death to instigate a reawakening and sense of purpose. Nighy stars as Mr. Williams, a gentleman who leads a mundane existence living with his detached son and cold daughter-in-law. Like clockwork, Williams dutifully takes the train to his bureaucratic job as civil servant, and with ease, lets papers pile and public requests linger to a standstill. That is, until he learns he is suffering from an incurable illness that will soon lead to his demise. Faced with death, Williams stops showing up to work without explanation. He wanders to the seaside where he meets free-spirited Sutherland (Tom Burke) and continues to drift until he is struck by a revelation. Williams decides to make a final, lasting change before parting, surprising his colleagues with a newfound tenacity.
While Nighy noted that every actor feels some trepidation at some point about a role, he felt a quiet confidence about portraying Mr. Williams. The usual fear was minimized in part because of fruitful continual conversations he had with director Hermanus as they mapped out much about the character and his development scene by scene. Nighy said he’s found generally that work is the best way to address fear of the work.
Hermanus shared that part of his process is to talk to actors a lot and perhaps that helps to do justice to sentimentality without becoming too saccharine. That balance is essential in Living.
Ishiguro said he was continually pushed by Hermanus with what-if questions, exploring different alternatives and options. Ishiguro credited that prodding with helping to bring about a bit of particularly insightful dialogue for Nighy when he’s in a pub/restaurant with Margaret (played by Aimee Lou Wood), a young worker whom he’s befriended. Without giving that scene away to those who have not yet seen the film, suffice it to say that it added a dimension that gave us a window into William’s heart and soul by revealing a fear he’s long held–one that he’s motivated to confront thanks to his admiration for Margaret’s zest for life.
Jury Awards
AFI Fest announced today (11/7) the films that received this year’s Jury awards. The Grand Jury Award winners for Live Action Short, Documentary Short and Animated Short will be eligible for the 2022 Best Live Action Short, Best Documentary Short and Best Animated Short Academy Awards®. The jury was comprised of writer/director Shaz Bennett, writer/director Johnson Cheng and film critic, journalist and filmmaker Tim Cogshell.
“AFI Fest is a proud symbol of the power of this art form to bring people together,” said Bob Gazzale, AFI president and CEO. “We are proud to create an experience that reminds us of the importance of being present and the joy of being alive.”
Here’s a rundown of the short film winners:
Grand Jury Prize – Live Action Short
BIRDS (DIR Katherine Propper)
Jury Statement: “For masterfully weaving together a deeply authentic vérité ensemble film, immersing us in the lives of youth on a sizzling Texas summer. BIRDS is magical, tense, romantic and timeless.”
Grand Jury Prize – Documentary Short
HAULOUT (DIR Evgenia Arbugaeva and Maxim Arbugaev)
Jury Statement: “It’s a revelatory documentary about the devastating effects of climate change — told with stunning images like never seen before.”
Grand Jury Prize – Animated Short
SIERRA (DIR Sander Joon)
Jury Statement: “Simple in subject but deep in content, SIERRA is playful and poignant and sticks with you long after viewing.”
Special Mentions
Special Jury Mention for Ensemble Acting – Live Action Short
YOKELAN, 66 (DIR Yi Tang)
Jury Statement: “All the cast was delightful and so full of charm.”
Special Jury Mention for Screenwriting – Live Action Short
HOW TO BE A PERSON: HOW TO GET AN ABORTION (DIR Sindha Agha)
Jury Statement: “It’s not easy to take a hot button topic and make it funny and endearing and searingly truthful.”
Special Jury Mention for Lead Acting – Live Action Short
AN AVOCADO PIT (UM CAROÇO DE ABACATE) (DIR Ary Zara)
Jury Statement: “With her debut performance, Gaya de Medeiros brought so much of herself to this role, and all of it comes through on the screen.”
Special Jury Mention for Cinematography – Documentary Short
KYLIE (DIR Sterling Hampton)
Jury Statement: “With sumptuous cinematography, the director captures the subject Kylie with grace and magic.”
Special Jury Mention for Historical Relevance – Documentary Short
NOT EVEN FOR A MOMENT DO THINGS STAND STILL (DIR Jamie Meltzer)
Jury Statement: “This film is a time capsule that painfully captures the deep historical relevance of a group moment we all lived through.”
Special Jury Mention for Sound Design – Animated Short
THE SPIRAL (DIR MarÃa Silvia Esteve)
Jury Statement: “The exquisite sounds and layers take you into a tunnel of anxiety and pain in the most effective, beautiful way.”
Special Jury Mention for Editing – Animated Short
IT’S RAINING FROGS OUTSIDE (AMPANGABAGAT NIN TALAKBA HA LIKOL) (DIR Maria Estela Paiso)
Jury Statement: “The attention to detail and the skilled editing puts us right in the heart of Maya and her childhood memories.”
